Cameron Kelsall
Philadelphia-based entertainment journalist. Part-time sommelier. Occasional academic.
Articles
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1 week ago |
bachtrack.com | Cameron Kelsall
Mahler’s Symphony no. 6 in A minor remains an outlier in the Philadelphia Orchestra’s repertoire, despite Music Director Yannick Nézet-Séguin’s passionate embrace of the composer. Prior to this week, the Philadelphians last played the Sixth in a non-subscription concert in 2016; the most recent previous subscription performance was in 2012.
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2 weeks ago |
theatermania.com | Cameron Kelsall
If you ever wondered what a mash-up of Dangerous Minds and The Sound of Music might look like, head out to Paper Mill Playhouse, where Take the Lead is having its world premiere. Based on a true story that inspired a 2006 movie, this new musical follows the familiar formula of a naive teacher who turns around the lives of underprivileged students through an appreciation of the arts.
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2 weeks ago |
bachtrack.com | Cameron Kelsall
Yannick Nézet-Séguin needed to pacify the audience. Juliette Kang, First Associate Concertmaster of the Philadelphia Orchestra, had just concluded the first movement of Bartók’s Violin Concerto no. 2 when a spontaneous standing ovation erupted. Whipping around on the podium, the conductor reminded the audience that the 40-minute concerto was barely halfway over. “There is more,” he intoned dryly. “Two more movements!”You could hardly blame the audience for cheering.
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2 weeks ago |
bachtrack.com | Cameron Kelsall
Nikolaj Szeps-Znaider stuck to the podium for his conducting debut with the New York Philharmonic, leaving his violin at home. He ceded string solo duties to Alisa Weilerstein, who performed the world premiere of Thomas Larcher’s Returning into darkness, dedicated to her. Although the 25-minute piece proved difficult to love, Szeps-Znaider and Weilerstein skillfully guided the audience through its murky thickets, impressing with their committed playing.
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3 weeks ago |
bachtrack.com | Cameron Kelsall
In 2021, Nathalie Stutzmann opened her first concert as Principal Guest Conductor of the Philadelphia Orchestra with Missy Mazzoli’s Sinfonia (for Orbiting Spheres). Four years later, she and the ensemble returned to the Pennsylvania-born composer’s oeuvre with Orpheus Undone, a work inspired partly by Rilke’s Sonnets to Orpheus.
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RT @jayythewave: the health benefit is that you don’t smell like shit, hope this helps
RT @laliakay: not sure what it is about the medium of theatre that makes people speak on it without knowing anything about it but the lack…
Already weeping thinking about her “The Beauty Is (Reprise)”. https://t.co/ghPT9kfRmi
